0 Posted by - January 29, 2019 - Event: Past, Music: past

Upset The Rhythm presents…


Tuesday 16 April  7.30pm doors  | £10 | BUY TICKETS

LEA BERTUCCI is an American composer and performer whose work describes relationships between acoustic phenomena and biological resonance. In addition to her instrumental practice, (alto saxophone and bass clarinet), her work often incorporates multi-channel speaker arrays, electroacoustic feedback, extended instrumental technique and tape collage. Deeply experimental, her work is unafraid to subvert musical expectation. Her discography includes a number of solo and collaborative releases on independent labels and last year she released the critically acclaimed ‘Metal Aether’ on NNA tapes, as well as a commission for percussion ensemble Tigue and a second edition of her much anticipated graphic
score book, ‘The Tonebook’, on Inpatient Press. She has performed extensively across the US and Europe with presenters such as The Kitchen, PS1 MoMA, Blank Forms, The Walker Museum, Roulette, ESS Chicago, Sound of Stockholm Festival, and the Le Guess Who Festival. She is a 2016 MacDowell Fellow in composition and a 2015 ISSUE Project Room Artist-in-Residence. For this special concert in London, Betucci will present her new sensory Projection/Reflection performance.

“Noise that is untethered and limitless” – Jenn Pelly, Pitchfork
“Fresh and exhilarating connection through sound with the nuances of space and the variegated grain of reality” – Julian Cowley, Wire Magazine
“Bertucci… mines the kaleidoscopic possibilities of the sax” – Marc Masters, NPR

CHASE COLEY & PASCAL COLMAN are artists and experimental musicians who have been performing as a free improvising duo since 2014 where they have made appearances at a variety of events and exhibitions around London and the UK including 2017’s Supernormal fest and east London’s Dronica series. Blurring the distinctions between noise, ambient music, performance and live sound design they present a mode of improv which is idiomatic but one where the idiom is very much their own. Both see their collaborative practice as an exercise in listening where, by the formation of new and unpredictable sonic relationships comprised of new instrumental voices (literally achieved by the fabrication of new acoustic instruments) they coerce their audience to engage with the sound which is both pure and immediate.